| Agatsu | Self victory. According to the founder, true victory (Masakatsu) is the victory one achieves over oneself (Agatsu). Thus one of the founder's "slogans" was Masakatsu Agatsu -- "The true victory of selfmastery." |
| Ai | Harmony. First character of Aikido. |
| Ai Hanmi | Mutual stance where UKE and NAGE each have the same foot forward (right-right, left-left). Contrast Gyaku Hanmi. |
| Ai Nuke | Mutual escape. An outcome of a duel where each participant escapes harm. This corresponds to the ideal of aikido according to which a conflict is resolved without injury to any party involved. |
| Ai Uchi | Mutual kill. An outcome of a duel where each participant kills the other. In classical Japanese swordmanship, practitioners were often encouraged to enter a duel with the goal of achieving at least an AI UCHI. The resolution to win the duel even at the cost of one's own life was thought to aid in cultivating an attitude of singleminded focus on the task of cutting down one's opponent. This singleminded focus is exemplified in aikido in the technique, IKKYO, where one enters into an attacker's range in order to effect the technique. |
| Ai Dori | Cross hand grab. Contrast Katatedori. |
| Aiki | Harmonizing of Ki |
| Aiki Jutsu | Standing techniques |
| Aiki Taiso | Aikido exercises |
| Aikido | The word "aikido" is made up of three Japanese characters: AI - harmony, KI - spirit, mind, or universal energy, DO - the Way. Thus aikido is "the Way of Harmony with Universal Energy." However, AIKI may also be interpreted as "accommodation to circumstances." This latter interpretation is somewhat non- standard, but it avoids certain undesirable metaphysical commitments and also epitomizes quite well both the physical and psychological facets of aikido. |
| Aikidoka | A practitioner of aikido. |
| Aikikai | Aiki association. A term used to designate the organization created by the founder for the dissemination of aikido. The names of organizations affiliated with Hombu Dojo. |
| Aite | One training partner. (literally, reciprocal or together. Ai means together and te means hands) |
| Ame no tori bune | The rowing movement, meditation. |
| Amote | See Omote |
| Ashi Sabaki | Footwork. Proper footwork is essential in aikido for developing strong balance and for facilitating ease of movement. Compare the more inclusive term Tai Sabaki. |
| Atemi | (lit. Striking the Body) Strike directed at the attacker for purposes of unbalancing or distraction. Atemi is often vital for bypassing or "shortcircuiting" an attacker's natural responses to aikido techniques. The first thing most people will do when they feel their body being manipulated in an unfamiliar way is to retract their limbs and drop their center of mass down and away from the person performing the technique. By judicious application of atemi, it is possible to create a "window of opportunity" in the attacker's natural defenses, facilitating the application of an aikido technique. |
| Awase | To blend or move together. For example, partner practice with weapons may be done "stopstart" or awase. |
| Bo | Staff or long jo; usually as long as the practioner is tall. Contrast to a Jo. |
| Bokken | A wooden practice sword. There are many different styles of bokken. (Literally, bokku means wood and ken means sword). O Sensei said training with the bokken develops good resolution, knowing how to apply and complete the technique. |
| Bu | Martial spirit |
| Budo | The path or way of martial arts. Literally, do means way and bu means neutralizing aggression. "A mind to serve for the peace of all human beings in the world is needed in Aikido, and not the mind of one who wishes to be strong and practices only to fell an opponent. There are neither opponents nor enemies for true budo. Therefore, to compete in techniques, winning and losing, it is not true budo. True budo knows no defeat. 'Never defeated' means never fighting."
The Japanese character for "BU" (martial) is derived from characters meaning "stop" and (a weapon like a) "halberd." In conjunction, then, "BU" may have the connotation "to stop the halberd." In aikido, there is an assumption that the best way to prevent violent conflict is to emphasize the cultivation of individual character. The way (DO) of AIKI is thus equivalent to the way of BU, taken in this sense of preventing or avoiding violence so far as possible. |
| Bujutsu | Warrior's arts |
| Bushido | Warrior's code. The way of the warrior. |
| Chokusen | Direct. Thus CHOKUSEN NO IRIMI = direct entry. |
| Chudan | Middle position. Thus CHUDAN NO KAMAE = a stance characterized by having one's hands/sword in a central position with respect to one's body. |
| Chushin | Center. Especially, the center of one's movement or balance. |
| Dame | Bad, wrong or mistake |
| Dan | Black belt rank. In IAF aikido, the highest rank it is now possible to obtain is 9th dan. There are some aikidoists who hold ranks of 10th dan. These ranks were awarded by the founder prior to his death, and cannot be rescinded. White belt ranks are called Kyu ranks. |
| Deshi | Student |
| Do | Way/path. The Japanese character for "DO" is the same as the Chinese character for Tao (as in "Taoism"). In aiki-DO, the connotation is that of a way of attaining enlightenment or a way of improving one's character through aiki. |
| Dojo | Literally "place of the Way." Also "place of enlightenment." The place where we practice aikido. Traditional etiquette prescribes bowing in the direction of the shrine (KAMIZA) or the designated front of the dojo (SHOMEN) whenever entering or leaving the dojo.� A training hall for traditional Japanese arts, including Aikido and other martial arts. Literally, do means way and jo means place. Formerly a term used by Buddhist priests in reference to the place of worship. |
| Dojo Cho | The head of the dojo. A title. |
| Domo Arigato Gozai Mashita | Thank you very much. Literally, 'Somehow a difficulty has been honorably overcome, and I appreciate it'. At the end of each class, it is proper to bow and thank the instructor and those with whom you've trained. |
| Dori | Grab, take. ???-dori means taking ??? away (eg, tantodori = knife taking). |
| Doshu | The official curator of the art of Aikido. Literally, do means way and shu means the master or owner. The present doshu is Moriteru, the grandson of the Founder, Morihei Ueshiba. |
| Doshu | Head of the way (currently Moriteru Ueshiba, grandson of aikido's founder, Morihei Ueshiba). The highest official authority in IAF aikido. |
| Engi | (Inter)dependent origination (Sanskrit = pratitya samutpada). In Buddhist philosophy, phenomena have no unchanging essences. Rather, they originate and exist only in virtue of material and causal conditions. Without these material and causal conditions, there would be no phenomena. Furthermore, since the material and causal conditions upon which all phenomena depend are continually in flux, phenomena themselves are one and all impermanent. Since whatever is impermanent and dependent for existence on conditions has no absolute status (or is not absolutely real), it follows that phenomena (what are ordinarily called "things") are have no absolute or independent existential status, i.e., they are empty. To cultivate a cognitive state in which the empty status of things is manifest is to realize or attain enlightenment. The realization of enlightenment, in turn, confers a degree of cognitive freedom and spontaneity which, among other (and arguably more important) benefits, facilitates the performance of martial techniques in response to rapidly changing circumstances. See Ku. |
| Eridori | An attack in which the collar is grabbed from behind |
| Fudo Shin | Immovable mind. A state of mental equanimity or imperturbability. The mind, in this state, is calm and undistracted (metaphorically, therefore, "immovable"). FUDO MYO is a Buddhist guardian deity who carries a sword in one hand (to destroy enemies of the Buddhist doctrine), and a rope in the other (to rescue sentient beings from the pit of delusion, or from Buddhist hellstates). He therefore embodies the twofold Buddhist ideal of wisdom (the sword) and compassion (the rope). To cultivate FUDO SHIN is thus to cultivate a mind which can accomodate itself to changing circumstances without compromise of ethical principles. |
| Fukushidoin | A formal title whose connotation is something approximating "assistant instructor." |
| Furi Kaburi | Swordraising movement. This movement is found especially in IKKYO, IRIMI-NAGE, and SHIHO-NAGE. |
| Furutama | The shake up, to stir, with a sense of polish, the soul itself. |
| Gaeshi | Reverse. As in Kotegaeshi, from Kote (wrist); Hassogaeshi; etc. . |
| Gedan | Lower position. GEDAN NO KAMAE is thus a stance with the hands or a weapon held in a lower position. |
| Gedan Gaeshi | A circular movement with the jo aimed at the lower part of the opponent's body |
| Gi/Dogi/Keiko Gi | Training costume. Either judostyle or karatestyle GI are acceptable in most DOJO, but they must be white and cotton. (No black satin GI with embroidered dragons. Please.) |
| Giri | Cut |
| Gokyo | Literally, fifth technique. Involves flexion of opponent's wrist as a means of control. |
| Gyaku Hanmi | Opposing stance (if UKE has the right foot forward, NAGE has the left foot forward, if UKE has the left foot forward, NAGE has the right foot forward). Contrast Ai Hanmi. |
| Gyakuyokomen | A slightly angled opposite strike to the side of the head. Compare Yokomenuchi, Shomenuchi. |
| Hachinoji | A movement based on the shape of the Japanese character for eight. |
| Hai | Yes. A convenient answer to use when Sensei gives you a correction or asks you to perform some task. [Some tell me this has a very military ring in Japanese - ACF] |
| Hajime | Command to begin |
| Hakama | A traditional Japanese outer garment worn over the gi pants. Black or blue in color, they are more formal, provide protection in rolling and falling and help conceal foot movement. Traditionally, they are worn by those holding the rank of shodan; some dojos permit women of any rank to wear them. |
| Hanmi | Triangular stance. Most often aikido techniques are practiced with UKE and NAGE in predetermined stances. This is to facilitate learning the techniques and certain principles of positioning with respect to an attack. At higher levels, specific HANMI cease to be of much importance. See Ai Hanmi, Gyaku Hanmi |
| Hanmi Handachi | Techniques executed from a kneeling position against an attacker who is standing. Literally, hanmi means half body and handachi means half standing. Training in HANMI HANDACHI WAZA is a good way of practicing techniques as though with a significantly larger/taller opponent. This type of training also emphasizes movement from one's center of mass (HARA). |
| Hantai | In reverse order |
| Happo | 8 directions; as in HAPPO-UNDO (8 direction exercise) or HAPPO-GIRI (8 direction cutting with the sword). The connotation here is really movement in all directions. In aikido, one must be prepared to turn in any direction in an instant. |
| Happo Giri | An exercise with the sword in which you practice turning the hips and cutting in at least eight directions. Literally, hachi means eight, po means direction and giri means cutting. [I'm working on a graphical explanation of Happo Giri, which will end up linked here - ACF] |
| Hara | One's center of mass, located about 2" below the navel. Traditionally this was thought to be the location of the spirit/mind/(source of KI). Aikido techniques should be executed as much as possible from or through one's HARA. |
| Hasso | A posture where the jo or sword is held vertically at the right shoulder |
| Hasso no Kamae | Figure-eight stance. The figure eight does not correspond to the arabic numeral "8", but rather to the Chinese/Japanese character which looks more like the roof of a house. In HASSO NO KAMAE, the sword is held up beside one's head, so that the elbows spread down and out from the sword in a pattern resembling this figure-eight character. |
| Hassogaeshi | A movement from the basic stance to the hasso posture, using a figureeight motion to block a thrust and concluding with the jo held in a vertical position at the right shoulder. |
| Henka | Variation. Literally, hen means unusual and ka means change. For example, henka waza are variations on the way a standard technique is completed. E.g., beginning IKKYO but changing to IRIMI-NAGE. |
| Hidari | Left. For example, hidari hanmi is hanmi with the left foot forward. |
| Hiji | Elbow |
| Hijidori | Elbow grab |
| Hitoemi | Same as ura sankaku. It literally means making the body small. |
| Ho | Method. |
| Hombu Dojo | A term used to refer to the central dojo of an organization. Thus this usually designates Aikido World Headquarters. (see Aikikai) |
| Ikkyo | Literally, first technique, where the arm is contained under one's center, with the nage controlling the wrist and elbow. Can include an elbow lock (extension) or shoulder extension/elevation. |
| Inyoentai | In and out at the same time (Yin and Yang together) |
| Irimi | (lit. "Entering the Body") Entering movement.� Moving into and through the line of attack with no thought of escape. A technique of entering and choosing death. The motion of entering is Yang. The motion of turning, or Tenkan, is Yin. Many aikidoka think that the IRIMI movement expresses the very essence of aikido. The idea behind IRIMI is to place oneself in relation to an attacker in such a way that the attacker is unable to continue to attack effectively, and in such a way that one is able to control effectively the attacker's balance. See Shikaku. |
| Iriminage | An entering technique in which the nage ends up behind the attacker and throws him or her to the mat. |
| Iwama | A small town northeast of Tokyo. Also refers to the dojo where Saito Sensei teaches "Iwamastyle" Aikido. O Sensei lived and taught in Iwama during much of the later part of his life. |
| Jinja | A (shinto) shrine. There is an AIKI JINJA located in Iwama, Ibaraki prefecture, Japan. |
| Jiyu | Free, unstructured. For example, jiyu keiko means unstructured training and jiyu waza means free techniques. |
| Jiyu Waza | Free style techniques or practice |
| Jo | A short staff, being about as long as the distance from the floor to just under the arm, or approximately 50 inches. It is about an inch thick and is usually made of white oak. O Sensei said training with the jo develops good intuition, knowing when to enter. The JO originated as a walking stick. It is unclear how it became incorporated into aikido. Many JO movements come from traditional Japanese spear- fighting, others may have come from jojutsu, but many seem to have been innovated by the founder. |
| Jo Dori | Jo means staff and dori means taking. |
| Jodan | Upper position. JODAN NO KAMAE is thus a stance with the hands or a weapon held in a high position. |
| Jodangaeshi | A circular movement with the jo aimed at the upper part of the opponent's body. An up block of a thrust to the midsection or throat. |
| Juji nage | Throw in which the nage uses the pressure of crossing the uke's arms against each other. |
| Kaeshi Waza | Technique reversal. (UKE becomes NAGE and vice- versa). This is usually a very advanced form of practice. KAESHI WAZA practice helps to instill a sensitivity to shifts in resistance or direction in the movements of one's partner. Training so as to anticipate and prevent the application of KAESHI WAZA against one's own techniques greatly sharpens aikido skills. |
| Kaiso | A title. The founder of aikido (i.e., Morihei Ueshiba). |
| Kaiten | To revolve or rotate - round or wheel. We use "Koho Kaiten" and "Sempo Kaiten" to refer to forward and backward rolls. |
| Kaitenage | Throw in which nage employs a spinning motion to throw uke forward. Pressure is exerted by holding uke's head down and using the other arm as a lever across uke's back to encourage uke to roll on his free arm. |
| Kamae | A posture or stance either with or without a weapon. KAMAE may also connote proper distance (MA AI) with respect to one's partner. Although "KAMAE" generally refers to a physical stance, there is an important prallel in aikido between one's physical and one's psychological bearing. Adopting a strong physical stance helps to promote the correlative adoption of a strong psychological attitude. It is important to try so far as possible to maintain a positive and strong mental bearing in aikido. |
| Kami | O Sensei said that Aikido was a function of kami, the divine alchemy of fire (ka) and water (mi). Fire and water are the two prime elements of outer and inner alchemy, in the East and in the West, and are associated with the polarities of heaven and earth, the sun and moon, yang and yin, logos and eros, hidden and manifest, positive and negative, heart and womb, man and woman. |
| Kamiza | A small shrine, especially in an aikido, generally located the the front of the dojo, and often housing a picture of the founder, or some calligraphy. One generally bows in the direction of the KAMIZA when entering or leaving the dojo, or the mat. |
| Kancho | Supervisor, director of a school |
| Kansetsu Waza | Joint manipulation techniques. |
| Kata | Shoulder Also, prearranged sets of movements, either with or without weapons, designed to teach form and basic movement. In Aikido two jo kata are commonly taught. They are called the 31 jo kata, or sanju ichi no jo, and the 13 jo kata, or the ju san no jo. |
| Katadori | (Or Katatori, or Katedori) Shoulder grab. |
| Katame waza | Holddown (pinning) techniques. |
| Katana | Japanese sword, what is vulgarly called a "samurai sword." |
| Katatedori | Same-side wrist grab (e.g., left hand of nage grabs right wrist of uke). Contrast Ai Dori. |
| Katsu Hayabi | Victory at the speed of sunlight. According to the founder, when one has acheived total selfmastery (Agatsu) and perfect accord with the fundamental principles governing the universe (especially principles covering ethical interaction), one will have the power of the entire universe at one's disposal, there no longer being any real difference between oneself and the universe.
At this stage of spiritual advancement, victory is instantaneous. The very intention of an attacker to perpetrate an act of violence breaks harmony with the fundamental principles of the universe, and no one can compete successfully against such principles. Also, the expression of the fundamental principles of the universe in human life is love (Ai), and love, according to the founder, has no enemies. Having no enemies, one has no need to fight, and thus always emerges victorious. (see Agatsu and Masakatsu) |
| Katsu Jinken | The sword that saves life. As Japanese swordsmanship became more and more influenced by Buddhism (especially Zen Buddhism) and Taoism, practitioners became increasingly interested in incorporating ethical principles into their discipline. The consumate master of sworsmanship, according to some such practitioners, should be able not only to use the sword to kill, but also to save life. The concept of KATSU JIN KEN found some explicit application in the development of techniques which would use noncutting parts of the sword to strike or control one's opponent, rather than to kill him/her. The influence of some of these techniques can sometimes be seen in aikido. Other techniques were developed by which an unarmed person (or a person unwilling to draw a weapon) could disarm an attacker. These techniques are frequently practiced in aikido. (see SETSU NIN TO) |
| Keiko | Training in traditional Japanese arts such as Aikido, flower arranging or tea ceremony. Literally, kei means contemplation or exploration and ko means old or traditional. |
| Ken | A Japanese sword, usually curved. A wooden sword used in practice. See also bokken. |
| Kensho | Enlightenment. See Mokuso and Satori. |
| Ki | Mind. Spirit. Energy. Vitalforce. Intention. (Chinese = chi) For many Aikidoka, the primary goal of training in aikido is to learn how to "extend" KI, or to learn how to control or redirect the KI of others. There are both "realist" and antirealist interpretations of KI. The KI-realist takes KI to be, literally, a kind of "stuff," "energy," or lifeforce which flows within the body. Developing or increasing one's own KI, according to the KI- realist, thus confers upon the aikidoka greater power and control over his/her own body, and may also have the added benefits of improved health and longevity.
According to the KI-antirealist, KI is a concept which covers a wide range of psychophysical phenomena, but which does not denote any objectively existing "energy" or "stuff." The KI-antirealist believes, for example, that to "extend KI" is just to adopt a certain kind of positive psychological disposition and to correlate that psychological dispositon with just the right combination of balance, relaxation, and judicious application of physical force. Since the description "extend KI" is somewhat more manageable, the concept of KI has a class of welldefined uses for the KI-antirealist, but does not carry with it any ontological commitments beyond the scope of mainstream scientific theories. |
| Ki No Musubi | Literally "knotting/tying up Ki". The act/process of matching one's partner's movement/intention at its inception, and maintaining a connection to one's partner throughout the application of an aikido technique. Proper KI NO MUSUBI requires a mind that is clear, flexible, and attentive. (see SETSUZOKU).
O Sensei called the bokken partner practices Ki No Musubi. That is, you first connect yourself through Ki to your partner's striking sword and then you must bind it with your Ki and put a stop to the attack. It is said that at least 10 years of training in such exercises is required to develop good Ki timing. |
| Ki No Nagare | Techniques done in motion, as opposed to those done from a static position. Literally, Ki means energy and nagare means flowing. |
| Kiai | A loud shout accompanying the execution of martial arts techniques, delivered for the purpose of focusing all of one's energy into a single movement. Literally, ki means energy or spirit and ai means meeting. O Sensei's forceful shouts completely unbalanced his opponents and on occasion extinguished the lights of the dojo. Sometimes his Kiais were like a fearful banshee yell, other times like the roar of a hurricane. Used with the principle of Yamabiko, responding to an attack immediately and resoundingly like a mountain echo. |
| Kihon | (Something which is) fundamental. There are often many seemingly very different ways of performing the same technique in aikido. To see beneath the surface features of the technique and grasp the core common is to comprehend the Kihon. [As I struggle to understand the kihon of aikido, I will put my thoughts here - ACF] |
| Kimusubi | The uniting of one's own ki with that of the opponent. It assures that you are on the exact line of attack and, ironically, have established the connection that can lead to a harmonious solution. |
| Kogeki | Attack. |
| Kohai | A student with relatively less experience or rank - one's junior. Contrast Sempai. |
| Kokoro | Heart or mind. Japanese folk psychology does not distinguish clearly between the seat of intellect and the seat of emotion as does Western folk psychology. |
| Kokyu | Breath. Part of aikido is the development of "KOKYU RYOKU", or "breath power." This is the coordination of breath with movement. A prosaic example: When lifting a heavy object, it is generally easier when breathing out. Also breath control may facilitate greater concentration and the elimination of stress. In many traditional forms of meditation, focus on the breath is used as a method for developing heightened concentration or mental equanimity. This is also the case in aikido. A number of exercises in aikido are called "KOKYU HO," or "breath exercises." These exercises are meant to help one develop KOKYU RYOKU. |
| Kokyu Dosa | Also KOKYO DOSA. One of the three exercises practiced at nearly every Aikido class. It usually involves sitting in front of your partner as he/she grabs you and upsetting his/her balance through the power and technique of kokyu. It involves moving through - rather than around as in tai no henko - the forces of your partners grab. Literally, kokyu means breath and ho means method. |
| Kokyu nage | Extension or throw without using joint techniques |
| Koshi | Hips, waist |
| Koshi nage | A throw in which uke is thrown over nage's hips |
| Kote | Wrist |
| Kotegaeshi | A throw made by an outward turn of an opponent's wrist, that is, flexion and supination of the wrist. |
| Kotodama | From the Kotodama religion. The spiritual function of sound. Every one syllable sound has its own spiritual vibration. Su (located at the center), oh (located in the stomach), ah (the chest), ai (the throat), ee (the top of the head). Starting from the center and moving up to the top of the head. For O Sensei Kotodama was the substance and sustenance of Aikido. The point, Su, of creation, is our own spiritual and physical center located in the area around the navel. The Founder said this is the "gold cauldron" where the "blood boils" and where Kotodama spirals forth. One should always be centered there during the practice of Aikido. |
| Ku | Emptiness. According to Buddhism, the fundamental character of things is absence (or emptiness) of individual unchanging essences. The realization of the essencelessness of things is what permits the cultivation of psychological nonattachment, and thus cognitive equanimity. The direct realization of (or experience of insight into) emptiness is enlightenment. This shows up in aikido in the ideal of developing a state of cognitive openness, permiting one to respond immediately and intuitively to changing circumstances (see MOKUSO). |
| Kubi | Neck |
| Kuden | An oral teaching, usually of a more secret nature. For example, "The foot takes the hand." Literally, ku means oral and den means transmission. |
| Kumi Jo | Partner practice with the jo (staff). Literally, kumi means to cross, entwine and jo is the staff. |
| Kumi Tachi | Partner practice with swords. Literally, kumi means cross or entwine and tachi means swords. |
| Kuzushi | The principle of destroying one's partner's balance. In aikido, a technique cannot be properly applied unless one first unbalances one's partner. To achieve proper KUZUSHI, in aikido, one should rely primarily on position and timing, rather than merely on physical force. |
| Kyu | A system of ranking before one attains black belt level. |
| Ma ai | Proper distancing or timing with respect to one's partner. Since aikido techniques always vary according to circumstances, it is important to understand how differences in initial position affect the timing and application of techniques. Literally, ma means interval and ai means relationship. |
| Mae | Front. Thus MAE UKEMI = "forward fall/roll". |
| Masakatsu | True victory. (see Agatsu and Kachihayabi) |
| Matte | Command to wait |
| Mawatte | Command to turn |
| Men | Face or head. The "head" of a dojo contains a shrine to O-Sensei - see |
| Menuchi | A shorthand name for Shomenuchi. A straight strike to the head from the front with the hand or ken. See also Yokomenuchi. |
| Migi | Right. For example, migi hanmi means right hanmi. |
| Misogi | Purification of mind, body and spirit. |
| Misogi | Ritual purification. Aikido training may be looked upon as a means of purifying oneself; eliminating defiling characteristics from one's mind or personality. O Sensei said, "Misogi wa keiko desu." Training is purification. Sweating is purification. Cleaning is misogi and fasting is misogi. Misogi is the intention of our training and the refining of our skills. Although there are some specific exercises for MISOGI practice, such as breathing exercises, in point of fact, every aspect of aikido training may be looked upon as MISOGI. This, however, is a matter of one's attitude or approach to training, rather than an objective feature of the training itself. |
| Mo ghi | To hold |
| Mokuso | Meditation. Practice often begins or ends with a brief period of meditation. The purpose of meditation is to clear one's mind and to develop cognitive equanimity. Perhaps more importantly, meditation is an opportunity to become aware of conditioned patterns of thought and behavior so that such patterns can be modified, eliminated or more efficiently put to use. In addition, meditation may occasion experiences of insight into various aspects of aikido (or, if one accepts certain buddhist claims, into the very structure of reality). Ideally, the sort of cognitive awareness and focus that one cultivates in meditation should carry over into the rest of one's practice, so that the distinction between the "meditative mind" and the "normal mind" collapses. |
| Morotedori | A grasp of the wrist by both hands of an opponent, as if the opponent were holding a sword. |
| Mudansha | Students without blackbelt ranking. |
| Mushin | Literally "no mind", operating from the hara or center, rather than the ego. A state of cognitive awareness characterized by the absence of discursive thought. A state of mind in which the mind acts/reacts without hypostatization of concepts. MUSHIN is often erroneously taken to be a state of mere spontaneity. Although spontaneity is a feature of MUSHIN, it is not straightforwardly identical with it. It might be said that when in a state of MUSHIN, one is free to use concepts and distinctions without being used by them. |
| Musubi | The blending of kokyu between partners. It is the tying together of Ki. Musubi is the process of unification. |
| Nagare | Flowing. One goal of aikido practice is to learn not to oppose physical force with physical force. Rather, one strives to flow along with physical force, redirecting it to one's advantage. |
| Nagaregaeshi | To make a strike to the front and then a strike or thrust to the rear in one flowing movement. |
| Nage | The partner who executes the technique. Literally, throw or thrower. |
| Nikkyo | Literally, second technique in which extra control is placed on the wrist and hand. The nikkyo technique involves flexion and pronation of the wrist. |
| Obi | Belt |
| Omote (sometimes Amote) | The attacker's front, thus, a class of movements in aikido in which NAGE enters in front of UKE. |
| Omotokyo | One of the socalled "newreligions" of Japan. OMOTOKYO is a syncretic amalgam of Shintoism, Neo-Shinto mysticism, Christianity, and Japanese folk religion. The founder of aikido was a devotee of OMOTOKYO, and incorporated some elements from it into his aikido practice. The founder insisted, however, that one need not be a devotee of OMOTOKYO in order to study aikido or to comprehend aikido's purpose. |
| Onegai Shimasu | A phrase used to ask a favor of someone, in this case, "Will you please train with me?" Literally, I humbly request. Or, "If you please." This is said to one's partner when initiating practice. |
| Osae waza | Pinning techniques. |
| O-Sensei | Literally, O means great and sensei means teacher. Used to refer to the Founder of Aikido, Morihei Ueshiba (1883-1969). |
| Randori | A movement exercise used to develop calm and efficient blending with the power and movement of multiple attacks. Literally, ri means principle, ran means confused, and do means melee or fight. Although aikido techniques are usually practiced with a single partner, it is important to keep in mind the possibility that one may be attacked by multiple aggressors. Many of the body movements of aikido (TAI SABAKI) are meant to facilitate defense against multiple attackers. |
| Rei | Bow. The command to bow |
| Reigi | Rei also translates as the Holy Spirit, the Big Force. Gi as manifestation. Combined, it means proper etiquette, to respect the creative force and spirit which is the same in all of us. Our bodies are different, but the universal fundamentals are the same for all of us. Reigi means to respect the fact that we are part of the same universal force. Observance of proper ettiquette at all times (but especially observance of proper DOJO ettiquette) is as much a part of one's training as the practice of techniques. Observation of ettiquette indicates one's sincerety, one's willingness to learn, and one's recognition of the rights and interests of others. |
| Renzoku | Continuous |
| Riai | The relationship between methods of using the ken, jo and taijutsu. (See separate article by Morihiro Saito). |
| Saito Sensei | One of the longest practicing direct students of O Sensei. He is a ninthdegree black belt and teaches in Iwama, Japan. |
| Sankyo | Literally, third technique. Involves extension and pronation of the wrist. |
| Sasou | To draw out your partners. For example, to make them raise their arms or move forward. Literally, to invite, call forth, lure. In randori or other free training, it is desirable for nage to draw out attacks from opponents, so that they may more effectively be controlled.
The art of drawing out and leading is difficult to master, though, requiring years of solid practice. For a beginning student in any discipline, training is 90 percent technique and 10 percent intuition. For a master, the percentages are the opposite: 90 percent intuition and 10 percent technique. |
| Satori | Enlightenment. In Buddhism, enlightenment is characterized by a direct realization or apprehension of the absence of unchanging essences behind phenomena. Rather, phenomena are seen to be empty of such essences -- phenomena exist in thoroughgoing interdependence (ENGI). As characterized by the founder of aikido, enlightenment consists in realizing a fundamental unity between oneself and the (principles governing) the universe. The most important ethical principle the aikidoist should gain insight into is that one should cultivate a spirit of loving protection for all things. (see KU and SHINNYO) |
| Satsu Nin To | The sword that kills. Although this would seem to indicate a purely negative concept, there is, in fact, a positive connotation to this term. Apart from the common assumption that killing may sometimes be a "necessary evil" which may serve to prevent an even greater evil, the concept of killing has a wide variety of metaphorical applications. One may, for example, strive to "kill" such harmful character traits as ignorance, selfishness, or (excessive) competitiveness. Some MISOGI sword exercises in aikido, for example, involve imagining that each cut of the sword destroys some negative aspect of one's personality. In this way, SETSU NIN TO and KATSU JIN KEN coalesce. |
| Seiza | Sitting on one's knees. Sitting crosslegged is called Agura and is considered more informal. Literally, sei means correct and za means sitting. Also, the command to sit in seiza. |
| Sempai | A student senior to oneself. Contrast Kohai. |
| Sensei | Teacher. It is usually considered proper to address the instructor during practice as "Sensei" rather than by his/her name. If the instructor is a permanent instructor for one's DOJO or for an organization, it is proper to address him/her as "Sensei" off the mat as well. Literally, sei means born and sen means before. |
| Setsuzoku | Connection. Aikido techniques are generally rendered more efficient by preserving a connection between one's center of mass (HARA) and the outer limits of the movement, or between one's own center of mass and that of one's partner. Also, SETSUZOKU may connote fluidity and continuity in technique. On a psychological level, SETSUZOKU may connote the relationship of actionresponse that exists between oneself and one's partner, such that successful performance of aikido techniques depends crucially upon timing one's own actions and responses to accord with those of one's partner. |
| Shidoin | A formal title meaning, approximately, "instructor." |
| Shihan | A formal title meaning, approximately, "master instructor." A "teacher of teachers." |
| Shiho | Four directions. |
| Shiho nage | Literally, four directions throw. |
| Shikaku | Literally "dead or blind angle." A position relative to one's partner where it is difficult for him/her to (continue to) attack, and from which it is relatively easy to control one's partner's balance and movement. The first phase of an aikido technique is often to establish SHIKAKU. |
| Shikko | Samurai walking ("knee walking"). Shikko is very important for developing a strong awareness of one's center of mass (HARA). It also develops strength in one's hips and legs. |
| Shime | To squeeze or choke |
| Shin Shin Toitsu | Unification of mind and body |
| Shinbukan | School of the martial spirit |
| Shinkenshobu | Lit. "Duel with live swords." This expresses the attitude one should have about aikido training, i.e., one should treat the practice session as though it were, in some respects, a lifeordeath duel with live swords. In particular, one's attention during aikido training should be singlemindedly focused on aikido, just as, during a lifeordeath duel, one's attention is entirely focussed on the duel. |
| Shinnyo | Thusness or "suchness." A term commonly used in Buddhist philosophy (and especially in Zen Buddhism) to denote the character of things as they are experienced without filtering the experiences through an overt conceptual framework. There is some question whether "pure" uninterpreted experience (independent of all conceptualization/categorization) is possible given the neurological/cognitive makeup of human beings. However, SHINNYO can also be taken to signify experience of things as empty of individual essences (see "KU"). |
| Shinto | The way of the gods. The indigenous religion of Japan. The founder of aikido was deeply influenced by OMOTOKYO, a religion largely grounded in SHINTO mysticism. (see KAMI) |
| Shizentai | Upright posture. Important in maintaining one's center (Hara). |
| Shodan | First degree black belt. |
| Shomen | Front or top of head. Also the alcove at the front of the dojo, considered a sacred space, to which we pay respect in Aikido practice. Literally, sho means correct and men means side. |
| Shomenuchi | Also called menuchi. A straight strike to the head from the front with the hand or ken. |
| Shugyo | Training - spiritual, mental, physical, ascetic. The day-to-day struggle. Educating oneself to refine and purify one's quality of life. O Sensei said, "In your training, do not be in a hurry, for it takes a minimum of ten years to master the basics and advance to the first rung. Never think of yourself as an all knowing, perfected master. You must continue to train daily with your friends and students and progress together on the Way of Harmony." |
| Shuto | A strike with the tegatana, side of the hand (hand blade). |
| Soto | Outside. Thus, a class of aikido movements executed, especially, outside the attacker's arm(s). (see UCHI) |
| Soto Deshi | Students who do not live at the dojo. Soto means outside and deshi means apprentice. See also, Uchi Deshi. |
| Soto kaiten | Outside turning motion |
| Suburi | A single movement of the ken or jo done as a solo practice. |
| Sukashiwaza | Techniques performed without allowing the attacker to complete a grab or to initiate a strike. Ideally, one should be sensitive enough to the posture and movements of an attacker (or would-be attacker) that the attack is neutralized before it is fully executed. A great deal of both physical and cognitive training is required in order to attain this ideal. |
| Suki | An opening or gap where one is vulnerable to attack or application of a technique, or where one's technique is otherwise flawed. SUKI may be either physical or psychological. One goal of training is to be sensitive to SUKI within one's own movement or position, as well as to detect SUKI in the movement or position of one's partner. Ideally, a master of aikido will have developed his/her skill to such an extent that he/she no longer has any true SUKI. |
| Sutemi | Literally "to throwaway the body." The attitude of abandoning oneself to the execution of a technique (in judo, a class of techniques where one sacrifices one's own balance/position in order to throw one's partner). (See AI UCHI). |
| Suwari Waza | Techniques executed with both UKE and NAGE in a seated position. These techniques have their historical origin (in part) in the practice of requiring all samurai to sit and move about on their knees while in the presence of a DAIMYO (feudal lord). In theory, this made it more difficult for anyone to attack the DAIMYO. But this was also a position in which one received guests (not all of whom were always trustworthy). In contemporary aikido, SUWARI WAZA is important for learning to use one's hips and legs. |
| Suwatte | The command to sit down |
| Tachi | A type of Japanese sword (thus TACHI-TORI = swordtaking). (Also "standing position"). |
| Tachi Dori | Techniques of taking an opponent's sword and throwing him. Tachi means sword and dori means taking. |
| Tachi Waza | Standing techniques. |
| Tai | Body |
| Tai No Henko | The basic blending practice. The attacker grabs your wrist, and you turn, curving your arm and wrist, and blend with the attacker's ki. You blend with the force of the attack and move off to the side. One of the three exercises practiced at nearly every Aikido class. Henko means changing of direction and tai means body. O Sensei advised that you concentrate your Spirit in the fingertips, pivot on your front foot, making a large half turn and position yourself to your opponent's side, remaining aware of possible attacks from the rear. When executing body turns, keep your feet open as a sixty degree angle, the most stable posture. |
| Tai Sabaki | Body movement. |
| Taijutsu | Body techniques. The techniques of Aikido done without weapons. Tai means body and jutsu means technique. |
| Taiso | Basic exercises |
| Takemusu | The "valorous procreative force of harmony, fully integrated, life generating, totally free and capable of unlimited transformation." A "slogan" of the founder's meaning "infinitely generative martial art of aiki." The martial technique that emerges spontaneously after many years of repetitive training with thorough grounding in the basics. The scope of aikido is not limited only to the standard, named techniques one studies regularly in practice. Rather, these standard techniques serve as repositories of more fundamental principles (KIHON). Once one has internalized the KIHON, it is possible to generate a virtually infinite variety of new aikido techniques in accordance with novel conditions. |
| Tanden | The center. Your center of being. |
| Taninsugake | Training against multiple attackers, usually from grabbing attacks. |
| Tanren uchi | A practice for developing the hips. Usually done by hitting a bundle of branches with a bokken. |
| Tanto | Wooden knife |
| Tanto Dori | Knifetaking. Tanto means knife and dori means taking techniques. |
| Tatami | Traditional straw mat on which Aikido is practiced |
| Tatte | The command to stand up |
| Te | Hand |
| Tegatana | (From Te, 'hand', plus Katana, 'sword') Hand sword, i.e. the edge of the hand. Many aikido movements emphasize extension and alignment "through" one's tegatana. Also, there are important similarities obtaining between aikido sword techniques, and the principles of tegatana application. |
| Tekubi | Wrist |
| Tengu | Inhabitants of the spirit world who can teach weapons to a mortal. Projections of the imagination that we can use as training partners when we practice alone. |
| Tenkan | Turning to dissipate force. The motion of turning is Yin. The motion of entering, or irimi, is Yang. See Tai No Tenkan |
| Tenshi nage | Heaven and Earth throw, extending one hand down and the other hand up |
| Tenshin | A movement where NAGE retreats 45 degrees away from the attack (esp. to UKE's open side). |
| Toma | A great distance |
| Tori | see "dori" |
| Tsuki | A punch or thrust (usually an attack to the midsection). |
| Uchi | A strike.� Also - inside. A class of techniques where NAGE moves, especially, inside (under) the attacker's arm(s). (but also a strike, e.g., SHOMEN UCHI) |
| Uchi Deshi | A livein student. A student who lives in a dojo and devotes him/herself both to training and to the maintenence of the dojo (and sometimes to personal service to the SENSEI of the dojo). Uchi means inside and deshi means apprentice. See also, Soto Deshi. |
| Uchi kaiten | Inside turning technique |
| Uchikomi | To take a step forward and strike |
| Udekime nage | Throw applying pressure to the under side of the elbow |
| Ueshiba Kisshomaru | The son of the founder of aikido. Second aikido DOSHU. |
| Ueshiba Morihei | The founder of aikido. (see O-SENSEI and KAISO). |
| Ueshiba Moriteru | The grandson of the founder and current DOSHU at HOMBU DOJO. |
| Uke | Person being thrown (receiving the technique). At high levels of practice, the distinction between UKE and NAGE becomes blurred. In part, this is because it becomes unclear who initiates the technique, and also because, from a certain perspective, UKE and NAGE are thoroughly interdependent. |
| Ukemi | Literally "receiving [with/through] the body," thus, the art of falling in response to a technique as a means of protecting the body from injury. Uke means to receive and mi means through the body. MAE UKEMI are front rollfalls, USHIRO UKEMI are back rollfalls. Ideally, one should be able to execute UKEMI from any position and in any direction. The development of proper ukemi skills is just as important as the development of throwing skills and is no less deserving of attention and effort. In the course of practicing UKEMI, one has the opportunity to monitor the way one is being moved so as to gain a clearer understanding of the principles of aikido techniques. Just as standard aikido techniques provide strategies for defending against physical attacks, so does UKEMI practice provide strategies for defending against falling (or even against the application of an aikido or aikidolike technique!). |
| Ura | The attacker's back. Moving around or behind your partner. Opposite of OMOTE. |
| Ura Sankaku | The back triangle stance |
| Ura waza | Turning techniques, moving toward the back, as in tenkan. |
| Ushiro | Backwards or behind, as in USHIRO UKEMI or falling backwards. |
| Ushiro ryo kata tori | Double shoulder grab from behind |
| Ushiro tekubitori | An attack from the rear where uke grabs one of nage's wrists with each of his hands, similar to ryotetori. |
| Ushiro waza | Attacks from the rear. |
| Waza | Techniques. Although in aikido we have to practice specific techniques, aikido as it might manifest itself in selfdefense may not resemble any particular, standard aikido technique. This is because aikido techniques encode strategies and types of movement which are modified in accordance with changing conditions. See Kihon. |
| Yamabichinomichi | The mountain echo |
| Yamabiko | Responding to an attack immediately and resoundingly with a forceful Kiai, just like a mountain echo |
| Yamato Damashii | The Spirit of Ancient Japan. Currently interpreted as the best that is good and true in human nature. |
| Yame | The command to stop |
| Yoko | Side, to the side |
| Yokomen | Side of the head. |
| Yokomenuchi | Strike to the side of the head or neck with an open hand. |
| Yonkyo | Literally, fourth technique, in which the uke's fore arm and elbow are contained and extended. Control by use of pressure points on the forearm may be involved (beware, there is the infamous "like yonkyo but not yonkyo" variation). |
| Yoroshiku Onegai Shimasu | A more formal version of onegai shimasu. Used as the equivalent of "Welcome to the dojo." |
| Yudansha | Persons holding rank of black belt. Yu means have, dan means rank and sha means person. |
| Zanshin | Lit. "remaining mind/heart." Even after an aikido technique has been completed, one should remain in a balanced and aware state. ZANSHIN thus connotes "following through" in a technique, as well as preservation of one's awareness so that one is prepared to respond to additional attacks. |
| Zen | A school or division of Buddhism characterized by techniques designed to produce enlightenment. In particular, Zen emphasizes various sorts of meditative practices, which are supposed to lead the practitioner to a direct insight into the fundamental character of reality (see KU and MOKUSO). |
| Zori | Sandals worn off the mat to help keep the mat clean! |